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Academician Nikolay Nikolayevich Andreyev was born in 1880 in Moscow to a family of an office employee.

N. N. Andreyev entered the Moscow Higher Technical College in the fall of 1898, and he left it for the Moscow University in 1989, where he became a second-year student.

N. N. Andreyev continued his education at the Goettingen University in Germany in summer 1904, and, later, at the Basel University.

N. N. Andreyev presented his PhD thesis on "Theoretical and Experimental Studies of the Effect of Temperature on Light Dispersion" in 1909.

N. N. Andreyev was awarded as a magister from the Scientific council of the Moscow University in September 1917.

N. N. Andreyev became the head of the Acoustical laboratory at the State Experimental Electrotechnical Institute in Moscow in 1921.

N. N. Andreyev published his review on physiological acoustics under the title "Keenness of Hearing" in 1924. The review appeared in the first issue of "Zhurnal prikladnoi fiziki" (Journal of Applied Physics).

He published his book "Fizika" (Physics) intended for nonprofessional readers in 1925.

Since 1926, Andreyev worked at the Leningrad Physicotechnical laboratory under the supervision of A. F. Ioffe. Here, Andreyev established a new Acoustical laboratory.

In summer 1928 he was sent together with a group of scientists from State Physicotechnical Institute to Germany, France, and Netherlands to become acquainted with the design of acoustic transducers and other achievements in piezoelectricity - a new and promising area of research at that time.

On 27-30 September 1931, the first All-Russian Acoustical conference was held in Leningrad. The conference was initiated by N. N. Andreyev and played an important role in the development of Soviet acoustics.

In 1940, Andreyev was invited by Academician S. I. Vavilov, director of the Lebedev Physical Institute, to fill the position of head of the new Acoustical laboratory organized at this institute. Andreyev accepted this invitation, and soon the leading acousticians from all Soviet Union gathered at his laboratory. In the early 1950 s, the laboratory represented in fact an independent institution. It occupied a new separate building that contained acoustic chambers and first-class equipment.

In 1953, N. N. Andreyev was elected member of the Academy of Sciences of the USSR. In the same year, he became a member of the International Acoustical Commission.

In late 1953, the Acoustics Institute was established on the basis of the Acoustical laboratory of the Lebedev Physical Institute. The first director of the Acoustics Institute was L. M. Brekhovskikh - Andreyev's closest ally and colleague. Andreyev himself headed the laboratory specializing in biophysics of human and animal hearing.

In 1954, Andreyev became the editor-in-chief of the "Akusticheskii zhurnal" (Physical Acoustics). This journal was established to replace the previous "Trudy Komissii po akustike" according to Andreyev's recommendations.

On 27 July 1970, Andreyev was given the title of Hero of Socialist Labor and received his third Lenin order and the medal of Hammer and Sickle. Such distinguished award given to Andreyev at the day of his 90th birthday marked the recognition of the great services done by Academician Andreyev to Soviet acoustics.

N. N. Andreyev was the founder of the school of Soviet acousticians, and the Acoustics Institute was named after him.

Address: Helsinki University of Technology
Laboratory of Acoustics and Audio Signal Processing
P.O. Box 3000
FIN-02015 HUT
Visiting address Otakaari 5 A, 02150 Espoo
Room SE 211
Phone +358-9-451 2490
Fax +358-9-460 224
Email Matti.Karjalainen@hut.fi

Born: Hankasalmi, Finland, April 2, 1946.
M.Sc. (Dipl.Eng.): Tampere University of Technology, 1970 in Electrical Engineering
Lic. Tech. : Tampere University of Technology, 1974 in Electrical Engineering
PhD (Dr. Tech.): Tampere University of Technology, 1978 in Electrical Engineering
Associate professor : Helsinki University of Technology, 1980 in Acoustics
Docent (any idea what it means?) Tampere University of Technology, since 1982 in Speech Technology
Full professor: Helsinki University of Technology, since 1986 in Acoustics

Speech synthesis projects (Finnish text-to-speech synthesis), 1973-80, 1987-90
Applications of speech technology to the disabled, 1974-80, 1987-89
Auditory modeling and its applications, 1981-86
Symbolic and knowledge-based signal processing, 1986-91
Programming environments for digital signal processing, 1980-82, 1986-
Speech recognition (Finnish), 1988-89, 1990-93
Applications of neural networks in speech, audio, and acoustics, 1990-
Speech database development (Finnish), 1992-
Modeling of spatial hearing and auralization, 1991-
Modeling of musical instruments and model-based sound synthesis, 1990-
Computer-based education in acoustics and signal processing, 1993-
Various other topics in acoustics, speech, signal processing, and music technology

Institute of Electrical and Electronic Engineers (IEEE)
Acoustical Society of America (ASA)
Audio Engineering Society (AES)
International Computer Music Assiciation (ICMA)
European Acoustics Association (EAA)
Acoustical Society of Finland (Chairman 1985-89 and 1991-94)
Finnish Artificial Intelligence Society (Board member)
Electronic Engineering Society of Finland
Pattern Recognition Society of Finland
Biomedical Engineering Society of Finland

1-19/August 2002: Featured: Max Mathews ...

Max Mathews ...

Max V. Mathews m.v.mathews@worldnet.att.net was born in Columbus, Nebraska, on November 13, 1926. He studied electrical engineering at the California Institute of Technology and the Massachusetts Institute of Technology receiving a Sc.D. in 1954.

He worked in acoustic research at AT&T Bell Laboratories from 1955 to 1987 where he directed the Behavioral and Acoustic Research Center. This laboratory carried out research in speech communication, visual communication, human memory and learning, programmed instruction, analysis of subjective opinions, physical acoustics, and industrial robotics.

From 1974 to 1980 he was the Scientific Advisor to the Institute de Recherche et Coordination Acoustique/Musique (IRCAM), Paris, France. In 1987 Mathews joined the Stanford University Music Department in the Center for Computer Research in Music and Acoustics (CCRMA) as Professor of Music (Research) where he developed a new pickup for electronic violins and a real-time computer system for music performance called the Conductor and Improv Programs and a 3D MIDI Controller called the Radio Baton.

AT Bell Labs in 1957, Mathews demonstrated synthesis of music on a digital computer with his Music I program. Music I was followed by Music II through Music V and GROOVE, all were involved in the composition and performance of music on and with computers. These programs have been influential in the development of computer music. For this pioneering work he has been called the "father of computer music," and most recently, "the great grandfather of techno!"

Max Mathews has conducted research on computer methods for speech processing, human speech production and auditory masking, and developed techniques for computer drawing of typography. He created the first computer singing, "Bicycle Built for Two," made famous by the Kubrick movie 2001 as the swan song of the dying computer. The developer of "Music V" synthesis software and "Groove," the first computer system for live performance, he is also the inventor of the Radio Baton, a computer-driven device that allows the user to conduct their own orchestral performances from MIDI files stored in the computer. This gives the user control over tempo, dynamics and balance among all the orchestral instruments. The commercial software product "Max" was based on Mathews’ ideas for a flexible, user-patchable sound generating system.

Mathews is a member of the National Academy of Sciences, the National Academy of Engineering and is a fellow in the American Academy of Arts and Sciences, the Acoustical Society of America, the IEEE, and the Audio Engineering Society.

Among the more idiosyncratic forms of recognition he has received, Mathews’ Electronic Violin was featured recently on the cover of Playboy magazine. He has won the IEEE Gold Medal, Acoustical Society of America Silver Medal, and the Chevalier de l’Ordre des Arts et Lettres, République Française.

History of Computer Music According to Mathews Max Mathews wrote the following summary of his work in computer music for "Horizons in Computer Music", an event that took place March 8-9, 1997 at the Simon Recital Center of the School of Music, Indiana University, Bloomington, Indiana:

"Computer performance of music was born in 1957 when an IBM 704 in NYC played a 17 second composition on the Music I program which I wrote. The timbres and notes were not inspiring, but the technical breakthrough is still reverberating. Music I led me to Music II through V. A host of others wrote Music 10, Music 360, Music 15, Csound, Cmix, and SuperCollider. Many exciting pieces are now performed digitally.

"The IBM 704 and its siblings were strictly studio machines--they were far too slow to synthesize music in real-time. Chowning's FM algorithms and the advent of fast, inexpensive, digital chips made real-time possible, and equally important, made it affordable.

"Starting with the Groove program in 1970, my interests have focused on live performance and what a computer can do to aid a performer. I made a controller, the Radio-Baton, plus a program, the Conductor Program, to provide new ways for interpreting and performing traditional scores. In addition to contemporary composers, these proved attractive to soloists as a way of playing orchestral accompaniments. Singers often prefer to play their own accompaniments.

"Recently I have added improvizational options which make it easy to write compositional algorithms. These can involve precomposed sequences, random functions, and live performance gestures. The algorithms are written in the "C" language. We have taught a course in this area to Stanford undergraduates for two years. To our happy surprise, the students liked learning and using "C". Primarily I believe it gives them a feeling of complete power to command the computer to do anything it is capable of doing."

One of the Many Legends... Max Mathews spent the majority of his career at Bell Labs as an engineer, conducting behavioral and acoustic research. Legend has it that in the 1950's Max Mathews would pipe the music of his late night computer noodling through the Murray Hill labs intercom system. There's no information on the effect it had on the custodial staff, but it would hardly have raised an eyebrow in the collaborative research community of the time. Mathews' music was not an "official" AT&T project -- but he was allowed free access to any equipment he wanted to use on his "socially desirable" side project.

MARMAX - Radio Batons! MARMAX
223 Precita Avenue
San Francisco, CA 94110
415-821-4661
m.v.mathews@worldnet.att.net